Helsinki by night. A car driving through rain-soaked streets, hardly a soul in sight. Jani Peltonen uses an old camera test to repurpose the Kaurismäki-like shots for an apocalyptic scenario: The radius of the drive roughly corresponds to the area that would be affected by the shockwave of a nuclear bomb explosion. In a way, Peltonen, who works with split screens in “Equal Dust”, breaks up and rearranges the space-time-continuum. Because the street images are overlaid by the narrative of the pan-European commando exercise “Able Archer 83”, with which NATO simulated a nuclear war in November 1983. An action that not only prompted the Soviet Union to station real warheads in East Germany – the Finnish music scene, too, processed the smouldering fear in hauntingly pathetic contributions to the Eurovision Song Contest. Singer Kojo, for example, warned against closing one’s eyes – and was promptly punished with zero points. “Equal Dust” is a journey back in time to the Cold War and anticipated end of the world, but no less a document of expressive hairdos and a hurtful song competition.